Fair to middlin
backpedaling through quotidian cycles
of suns and moons
and something in the mandarin dusk
put pits in my patina
Not this way, not today
will I be prey to this present husk
as I rip the rind of my rut
a black crow returns to the oak
clutching carrion
and I turn a leaf underneath
plucking my orange
death lives in our gut
On my back
everything looks up
above the mycelium that carries
the belly of my kin
thick and through the pores of my skin
my dreams are zesty
and there's a fire and a hunger
among the stars
just before I blow them out
About the Creator
Pixel Floyd
I write poetry. Inspired by the undefined spaces where words take their chances.
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I Care
You're so oblivious, and hey, you're right to say it's none of my business, but we have thin walls between us, and the sound of your heart breaking is the deafening sound of one hand clapping. But that's your hand, clapping, your heart, breaking, that I am witnessing. And I'd never say you lied when you said you were doing nothing; privacy doesn't imply hiding. I'm not seeking your confession, but you show it all in what's not seen behind your eyes: a silence deeper than the depths of the Kraken, a muzzle on the vile smile of your silenced banshee.
By Pixel Floyd4 months ago in Poets
'20/20'
"Do It Again" the track that would ultimately open the Beach Boys final album on Capitol Records which was released on February 10th 1969 had originally been released as a single in August of 1968. The track was the first of many post-Pet Sounds era throwbacks to the early Beach Boys sound which would become continually more cliched and eventually lead the Beach Boys to the level of self-parody they would eventually succumb to in the 1980s while their closest contemporaries The Beatles nearing the end of their run in 1969 would go on to be viewed as the most influential band of all time. However, the song itself is not bad on its surface, and it opens with a futuristic sounding (for 1969) drumbeat captured by then-Beach Boys engineer Stephen Desper using tape delays on the drums performed by Dennis Wilson and John Guerin. The song has been re-recorded numerous times over the years on various Beach Boys-related projects most notably the 2011 re-recording at Capitol studios featuring the five surviving Beach Boys at the time backed instrumentally by various members of both the Brian Wilson Band and Mike Loves touring "Beach Boys" to promote the then upcoming Beach Boys 50th Anniversary reunion tour in 2012. The hammering and power drill sound at the end of the song was an excerpt from a track called "Workshop" that was to be a part of the uncompleted "SMiLE" album.
By Sean Callaghan6 days ago in Beat
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